The earliest of these Lumachrome glass prints were made simply as expanded sunprints, on black and white fibre paper, coated with my own emulsions, and left to expose under glass for between 12 and 36 hours. This practice evolved through the use of complex layers of glass and chemistry to control the colours and textures. Blood, mud, clay, sticks, leaves, seeds, resin, sap, wax, ceremonial ochres, stones, flowers and roadkill animals or birds, are arranged on perspex layers over a base layer of light sensitive paper. Some of the perspex layers are used as cliché verre, covered in mud, wax, blood or paint, and scratched with wire to create lines and shapes. The animals and birds are brushed with salt or other agents to ensure the fine detail you can see in the prints. Sometimes I am using contact printing methods. I am also using raw chemicals and acids as well as household chemicals and biochemicals. I have called this practice Lumachrome glass printing because it is the production of colours in emulsion by light (Lumachrome) and textures made possible by layers of perspex or glass (glass printing). Lumachrome glass printing is entirely my own invention but it draws heavily on the experimental notes of Fox Talbot and his peers.

These lumachrome glass prints have arisen from a serious attempt to understand connection with Country, and I see them as a collaboration with nature. They are, in a very literal sense, constructed from light, earth and flesh.

See a slide show gallery of 2018 Lumachrome Glass Prints

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Noone really dies, she told me, you’ll find me again, in a trace of leaf or stone, in the quiet hieroglyphs of Country

Lumachrome glass print with chemigram and cliche-verre. Roadkill Brown Songlark, skeleton leaf, daisies, grass and chemicals on fibre paper. 24 hours under perspex in full summer light.

Editioned prints, 65 x 34.45cm
(editions of 10)

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In Joan’s garden, she slipped off her feathered gown, and left it folded in wildflowers – a last gift.

Lumachrome glass print. Fallen magpie (from Joan’s garden), salt, resin, wax and chemicals on fibre paper. 26 hours under perspex.

Editioned prints, 65.15 x 35.14cm
(editions of 10)

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The night Hazel died, red hares thumped their feet in grass like ceremonial drums, and at dawn they watched her rise over football fields and back yards, like a sun.

Lumachrome glass print. Salt-painted roadkill rex hare, developer, blood, potassium dichromate, mud, wax and resin on fibre paper. 38 hours under perspex.

Editioned prints, 61.48cm x 44.42cm
(editions of 10)

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Zoë descending, in her mother’s garden

Lumachrome glass print, cliché verre. Roadkill king brown snake, blood, leaves and grass on fibre paper. 26 hours in storm light under marked glass and perspex.

Editioned prints, 65cm x 41.5cm
(editions of 10)

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Ghost gums floating in Fred’s Garden

Lumachrome glass print, cliché verre. Pressed plants, mud, resin, salt and acrylic paint under marked perspex.

Editioned prints, 68.3cm x 65cm
(editions of 10)

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Leonard rising over burned acacia, in a mask of blood

Lumachrome glass print, cliché verre. Roadkill magpie on salt-painted fibre paper, with sticks, mud, resin and mesh. Exposed 32 hours in a perspex box in spring light and moonlight.

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The Fox’s Gift

Lumachrome glass print, cliché verre. Legs of a Rex Hare, delivered to my door by a fox, on fibre paper, under broken glass and scratched mud. Exposed 32 hours under perspex in Spring light and moonlight. Salt-brushed.

Editioned prints, 65cm x 42.51cm
(editions of 10

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Honeyeaters know there is a special place after death for birds who have the courage to leave this world singing. Those are the bird warriors. Not fighters, but the ones who look death in the eye and sing.

Lumachrome glass print. Honeyeater fallen to old age, household chemicals, mud and maggots on fibre paper. Exposed 31 hours under perspex in spring light

Editioned prints, 63.48cm x 44.42cm
(editions of 10)

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Earth receives her tiny fallen brother

Lumachrome glass print, cliche-verre. Bird-killed gecko, grass, resin, central desert ochres, on fibre paper. 20 hours under perspex in spring light and moonlight

Editioned prints, 65cm x 43.81cm
(editions of 10)

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After the headlights, Jessica opened her eyes and lifted, through clouds, to the country of her ancestors.=

Lumachrome glass print, cliché verre (cropped and framed), roadkill possum found in Newcastle by my sister in law and frozen, transported back to Wamboin in an eski. Brushed with saltwater and exposed 42 hours on a glass sheet, marked with paint and wax (cliché verre), on fibre paper in perspex housing.

Editioned prints, 67cm x 43cm
(editions of 10)

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Above the bone-fields, Ken teaches his protégé how to fly without a body

Lumachrome glass print, cliché verre.  Roadkill kookaburra, roadkill magpie, dried leaves, sticks, mud, wax and resin on fibre paper. Double exposure. 1st exposure 15 hours, 2nd exposure 14 hours, under perspex in mixed sunlight and moonlight.

Editioned prints, 65cm x 43.81cm
(editions of 10

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Ghost Shingleback guards the Mountain of Mothers, near Lajamanu, Northern Tanami Desert.

Lumachrome glass print, cliché verre. Roadkill Shingleback, mustard seeds, acacia twigs, beeswax, mud and oil on fibre paper. Exposed 26 hours under perspex. Winter light.

Editioned prints, 65cm x 49.72cm
(editions of 10)

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Lily manifests as a crow over the West MacDonnell Ranges.

Lumachrome glass print, cliché verre. Double Exposure. Roadkill crow, blood, mud, resin, wax, seeds, sticks and maggots on fibre paper. 1st exposure 24 hours, 2nd exposure 12 hours in the back of a ute. moonlight and full sun.

Editioned prints, 65cm x 49.72cm
(editions of 10)

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Mountain is the kookaburra’s shadow

Lumachrome glass print, cliché verre.  Roadkill Kookaburra, seeds, resin, wax, soil and sticks on fibre paper. 36 hours exposure, under marked glass in the back of a ute. Moonlight and Spring Light.

Editioned prints, 64cm x 43.82cm
(editions of 10)

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Ben sometimes felt he carried his artist girlfriend a lot, but she painted him stars while he slept

Lumachrome glass print, cliché verre. Double exposure. Roadkill magpie, seeds and ash on fibre paper. First exposure, 12 hours under marked glass in the back of a ute. Second exposure, 12 hours with additional seeds and dirt. Winter light.

Editioned prints, 61.48cm x 44.42cm
(editions of 10)

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Parrot rises with the moon.

Lumachrome glass print, cliché verre. Roadkill Superb Parrot, fennel seeds, dirt, sticks, resin, wax and flowers on fibre paper. Exposed 38 hours under marked glass in full moonlight and spring sun.

Editioned prints, 65cm x 44cm
(editions of 10)

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Country holds her baby in her arms

Lumachrome glass print, cliché verre.  Snake-food rat, wattle seeds, sticks, grass, resin, ash and dirt on fibre paper under scratched glass. Developed 36 hours in bathroom window light (couldn’t leave it outside because of the eagles).

Editioned prints, 66cm x 47cm
(editions of 10)

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Peter Lapin, looking for Wittgenstein in the afterlife

Lumachrome glass print, cliché verre.  Roadkill rabbit, blood, sticks and grass on two pieces of fibre paper. Developed 32 hours under marked glass, back of the ute in winter light and moonlight.

Editioned prints, 65.59cm x 41.78cm
(editions of 10)

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On a rainy afternoon, the Lorikeet of Transcendence

Lumachrome glass print, cliché verre.  Roadkill Lorikeet and fennel seeds on Fibre paper. Developed 30 hours under marked glass in heavy rain. Stormlight.

Editioned prints, 67cm x 44.1cm
(editions of 10)

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Remembering Fred Williams

Lumachrome glass print, cliché verre.  Leaves, seeds and sticks on fibre paper. 18 hours under marked glass in winter light.

Editioned prints, 63.48cm x 44.42cm
(editions of 10)

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Lizard mountain in storm light

Lumachrome glass print, cliché verre. Roadkill Bluetongue Lizard, flowers, sticks, resin, wax, mud, sticks and seed, on fibre paper. Developed 26 hours under marked glass in spring light.

Editioned prints, 65cm x 41cm
(editions of 10)

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Peter Lapin finds his shadow on the edge of the multiverse

Lumachrome glass print, cliché verre.  Decomposed roadkill rabbit, blood, maggots, twigs, grass, dried leaves, soil and wax on fibre paper. Multiple exposure. First exposure 12 hours in winter light, second exposure 8 hours moonlight, third exposure 12 hours sunlight. All exposures under marked glass in variegated light and windy conditions.

Editioned prints, 65cm x 40.18cm
(editions of 10)

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Sturt’s Desert Rose at Supplejack Downs Station

Lumachrome glass print, cliché verre. Seedpods, sticks, dried grass, dirt, resin, wattle seeds and ash on fibre paper under scratched glass. Developed 26 hours in window light.

Editioned prints, 62cm x 39.1cm
(editions of 10)

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Manṭiq-uṭ-Ṭayr

Lumachrome glass print, cliché verre.  Roadkill magpie and roadkill yellow-throated miner on fibre paper. Developed 22 hours under marked glass, back of the ute, in overcast conditions.

Editioned prints, 66cm x 44.24cm
(editions of 10)

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Peter Lapin, carrying the soul of Mirka Mora through the astral realm, and on, to new gardens of suns and miraculous birds

Lumachrome glass print, cliché verre.  Roadkill rabbit, sticks, seeds, mud and stones on three pieces of fibre paper. Developed 28 hours under marked glass in a crate, in the back of a ute. Developed in winter sun and moonlight.

Editioned prints, 66cm x 44.14cm
(editions of 10)

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Kangaroo at Lake George

Lumachrome glass print, cliché verre.  Roadkill kangaroo foot on fibre paper. 26 hours under marked glass in the front of the ute.

Editioned prints, 65cm x 37.95cm
(editions of 10)

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Ghost Magpie

Lumachrome glass print, cliché verre.  Roadkill Magpie on Fibre paper and netting. Lumen Print. Moonlight and daylight, 26 hours under marked glass in the back of a ute.

Editioned prints, 60cm x 45.77cm
(editions of 10)

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Nocturnal Moths at Mina Mina

Lumachrome glass print, cliché verre. Hakea seedpods, acacia and grass on Fibre paper. 15 hours under clay-marked glass in window light.

Editioned prints, 65cm x 45.9cm
(editions of 10)

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Afterlife of a Starling

Lumachrome glass print, cliché verre.  Starling and Wire on fibre paper. 22 hours under marked glass, in the back of a ute, winter light.

Editioned prints, 65cm x 48.44cm
(editions of 10)

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Katherine Gorge in Rainy Season

Lumachrome glass print, cliché verre.  Sticks, seed, leaves and netting on fibre paper. 15 hours under marked glass, in winter light – disturbed by the cat resulting in unintended double exposure.

Editioned prints, 65cm x 46.44cm
(editions of 10)

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Moon Snake

Lumachrome glass print. Roadkill tiger snake on fibre paper. Developed 12 hours in moonlight, during the 28 July lunar eclipse.

Editioned prints, 57cm x 43.96cm
(editions of 10)

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Tanami Eucalypt

Lumen print. Eucalyptus from the Northern Tanami Desert on Fibre paper. 12 hours winter sunlight under glass.

Editioned prints, 45cm x 32.68cm
(editions of 10)

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Transfiguration of a Rosella

Lumen Print. Roadkill rosella on fibre paper. 12 hours in the back seat of a ute.

Editioned prints, 65cm x 35.47cm
(editions of 10)

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Yintiringi-rningi

Lumen print. Acacia Farnesiana (Mimosa bush), from the Northern Tanami Desert on fibre paper. 15 hours under glass in variegated winter sun.

Editioned prints, 53.05cm x 35cm
(editions of 10)